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    <loc>https://www.murraybloom.com/fine-art</loc>
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    <lastmod>2024-03-14</lastmod>
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      <image:title>FINE ART</image:title>
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      <image:caption>BERESHEET</image:caption>
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      <image:title>FINE ART</image:title>
      <image:caption>SPECKSYNDER</image:caption>
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      <image:title>FINE ART</image:title>
      <image:caption>LIMITED EDITION LITHOGRAPH • 1980</image:caption>
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    <loc>https://www.murraybloom.com/the-clouds-thy-chariot</loc>
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    <lastmod>2025-03-01</lastmod>
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      <image:title>THE CLOUDS THY CHARIOT</image:title>
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      <image:title>THE CLOUDS THY CHARIOT</image:title>
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      <image:title>THE CLOUDS THY CHARIOT</image:title>
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      <image:title>THE CLOUDS THY CHARIOT</image:title>
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      <image:title>THE CLOUDS THY CHARIOT - THE CLOUDS THY CHARIOT</image:title>
      <image:caption>by Murray and Yael Bloom is a collaborative work of love by father and daughter. The book has been in production since 2010. Yael considers this her lifetime passion project and has been editing her Father’s photographs of Israel spanning from 1968 to 2017. At its current state the book is 146 pgs of Murray’s archives of 2 1/4, 35mm b/w negatives and Kodachrome slides shot with his Rolleiflex 3.5, Mamiyaflex C33, Nikon F, Nikonos, Leica M4 and Leica CL. Included in the book are Murray’s commentaries reflecting his memories and experiences, geological facts of Israel and the Middle East region, religious beliefs and customs of the Jewish, Christian and Islamic faiths. There are quotes from the Bible, New Testament and Koran, all researched by Murray. Broken into three chapters: Everyday Life, Duty and Celebrations, Murray has tried to capture the heart of the Israeli people, its cultural diversity and divisions of Jewish, Christian, Islamic and Druze faiths all living together. Content on site is a small selection from each chapter. Dates when commentary was written by Murray are documented. Images are low-resolution.</image:caption>
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      <image:title>THE CLOUDS THY CHARIOT</image:title>
      <image:caption>New York City, in the early 1950s boasted three morning and three evening newspapers. A tabloid, The Daily News, “New York’s picture newspaper,” enjoyed the largest circulation (and still does), employed the greatest number of staff photographers, printed more photographs per page than anyone else and paid the most for the work of the amateurs they published. Their masthead, even today, still contains the logo of a four-by-five inch speed graphic press camera that used sheet film, the mainstay of the photojournalist at that time.  During that period I attended a specialized art High School in Mid-Manhattan majoring in illustration and photography while following an academic track. Among our heroes or role models were the working professionals in the communication arts. The most famous of these were Life Magazine photographer Alfred Eisenstaedt, a Jew who fled from Nazi Germany in 1935 and helped define American photojournalism with 90 Life Magazine covers, and “Weegee”, the pseudonym of Arthur Felig, another Jew, known for his street photography of crime scenes and emergencies. His car contained a portable shortwave police radio, as well as a complete darkroom in the trunk.  This same “Daily News” once paid me twenty-five dollars, a princely sum at that time, for my street photograph of a fist-fight in Greenwich Village the paper printed in its centerfold. The standard drill, as all school photography majors knew, was to telephone the newspaper when one felt they had a newsworthy photo. A rolling radio car would pick up the film and drop it off at the paper’s lab, where it would be developed and printed. If used, the standard fee would be paid. It was my privilege, 25 years later, in Jerusalem, to assist another “great”, Nachum Tim Gidal, a contemporary of Eisenstaedt, with his books.  Men’s fashions in the 1950s dictated hats be worn and hair be short and trimmed. A common stereotype in films and novels of the period required reporters and press photographers to display their press passes in the hat bands of their snap-brim fedoras or pork-pie hats, so they would be readily admitted to the scenes of murder, mayhem or catastrophe.  This portrait still gives me a wry sense of satisfaction, not to mention a feeling of déjà vu, when I see it. Hair is back in fashion and lots of it! I now sport my own, greatly coveted press pass declaring to the whole world that I am now an accredited photographer for The Jerusalem Post; my evolution is complete! The pass, though, was affixed to an Israeli national symbol at that time - the “kova tembel”*, rather than a fedora. I was now able, as if by magic, to breach police barricades and military security checkpoints at will!  What Bliss! What self-fulfillment! August 2, 2011  * In Hebrew slang, “tembel” means silly or fool.</image:caption>
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    <loc>https://www.murraybloom.com/about</loc>
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    <lastmod>2026-02-06</lastmod>
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  <url>
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    <lastmod>2019-03-15</lastmod>
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    <loc>https://www.murraybloom.com/exhibitions</loc>
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    <lastmod>2025-02-28</lastmod>
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